《梅花螳螂拳拍位图谱》初探兼论《剑经》拍位  

A First Exploration of the Rhythm Illustrations of the Plum Blossom Praying Mantis and the Theory of the Essence of Swords

作　　者：霍子儒 吴启贤 霍明钢 严瑞昌 胡鸿钧 张宇杰 霍明彬 Huo Ziru;Wu Qixiao;Huo minggang;Yan Ruichang;Hu Hongjun;Zhang Yujie;Huo Mingbin(Mantis boxing Branch of Guangzhou Wushu Association,Guangdong 510288,China)

机构地区：[1]广州市武术协会螳螂拳会,广东广州510288

出　　处：《中华武术》2020年第8期10073-10076,10099,共5页

基　　金：广州市非遗基金项目(穗文广新【2017】780号)。

摘　　要：《梅花螳螂拳拍位图谱》乃武术名家鲍光英所传,成书于清末民初,其对《梅花螳螂拳要论》的拍位理论所了进一步阐发,把俞大猷《剑经》中仅用于棍术的拍位延伸到拳术技击,并给出拍位图13张,对螳螂拳乃至整个武术研究具有较高的学术价值。本文概括拳谱梗概,并用调查法、观察法对拍位的流变做出分析和归类,并举例说明螳螂拳拍位与摔手、门、转环、绞丝等拳理的综合运用。The Rhythm Illustrations of the Plum Blossom Praying Mantis, which was written by the wushu(martial arts) master Bao Guangying around late Qing Dynasty to early Republic of China era, further explores the rhythm(smacking moves) theory in the Essential Book of Plum Blossom Praying Mantis. It lists 13 drawings of the bare hands rhythm demonstrations, and this fist technique is originated from the cudgel play techniques in Yu Dayou’s Jian Jing(the Essence of Sword). It has a high academic value to Praying Mantis Boxing and the wushu(martial arts) studies. This paper contains the analysis and categorization of rhythm moves via detailed examination and observation methods. It also provides examples of the application among Praying Mantis’s rhythm moves, shuaishou(slam with the back of a hand), door(positioning), circle and twist.

关 键 词：梅花螳螂拳 鲍光英 拍位 剑经 俞大猷 霍耀池 八刚十二柔拳谱 

分 类 号：G852[文化科学—民族体育]